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Shut out — unable to buy a ticket to the Paris Opera’s performance of Othello because it was sold out; an opera! — like a rock concert in the States. I doubted whether too many operas were ever sold out back home; maybe at the Met . . . maybe not.

So why did I care? I had plenty to keep me busy while in Paris, but I was truly disappointed at not being able to see Othello, and I’m not even that big an opera fan. The answer was obvious: Othello is a great story, told by a master. I had recently seen the original Shakespeare version directed by that most quixotic and surprising of theatre/opera directors, Peter Sellars. I had loved it. Iago stayed with me, as did Desdemona. That’s my personal test of great theatre; does it change me while I’m at the theatre and, then, most important of all, does it stick with me months after — that performance had. So, what had made it so powerful? And then it hit me: the subtlety and complexity of Shakespeare’s Othello derives from the fact that his characters are human; they are rich, contradictory and layered; we can relate to them on a very personal level.

This is not an article on Shakespeare, it is an article on ballet and ballet dancers. In this essay I will make the case for actor training for ballet dancers. I will use examples from Antony Tudor’s work and my teaching experience and suggest that teaching ballet dancers to be strong actors is both necessary and teachable.

Back to Shakespeare. Here’s the connection: when ballet enables us to empathize fully with the characters we are watching we leave better for it; changed, challenged. However, and this is where the two diverge, when it is solely about beautiful bodies doing amazing things in fabulous costumes we do not necessarily leave with, as dance historian Judith Bennehum puts it, “ a heightened sense of who we are and what we represent”. This is a critical point, and one which I believe is often overlooked.

Ballet is many things to many people. For me, it is a way to communicate without the need for speech; to find freedom through its seeming opposite — dedication and discipline; to approach universal ideals of beauty, control and grace. It is also a unique opportunity to engage others in thinking about the human condition, if approached with that intention. Unfortunately, it rarely is. Most ballets lack the emotional depth of Shakespeare; they are more interested in technique and less in character development. This should come as no surprise, given ballet’s origins when the importance of display and elegance often took precedence over the intrinsic potential of the art form. Of course, ballet has come a long way since Catherine de Medici and the court of the Sun King; but we can go further.

In the world of ballet, the 20th century English choreographer Antony Tudor stands out as a shining example of a choreographer who went further, who got what Shakespeare was after: the turmoil and transcendent possibilities of the human condition; the inevitable consequences of both duty and selfishness, hope and despair. Tudor brought real people to the stage through his characters, and had them reveal their inner lives to us, the audience, through the unlikely medium of classical ballet. Whether the ballet is about a forced marriage in Edwardian England (Jardin aux Lilas) or heinous war crimes during the German occupation in WWII (Echoing of Trumpets), we care about the story that is unfolding, care about the individual lives it reveals. Tudor accomplished what all great artists seek to accomplish: to make the story unfolding on stage relevant to the audience; to have them respond to the universal truths, trials, and triumphs which define each one of us.

Tudor was also a master of comedy. Another mark of greatness for, through humour, we also find truth; often more easily, though not always less painfully. His comedies were poignant, sardonic peeks at the less glamorous side of things. From the ironic characterizations of diva ballerinas in Gala Performance to the somewhat pathetic attempts at seduction in Judgment of Paris he saw with a laser-like eye what comedy always looks for– the asymmetry of life, the contradictions and the touching nuances . . . the unexpected.

So where does all this take us? Although Tudor died in 1987 his work is consistently presented in such companies as American Ballet Theatre and throughout the world. He continues to be considered the “Stanislavsky of ballet “ a reference to the great Russian actor who founded the technique associated with honest gesture and powerful character development. His musicality (The Leaves are Fading) and complex narrative (Pillar of Fire) are still stunning examples of a great artist’s work within the ballet genre. But his reputation is transient, as is so often the case in dance. Unlike the master works of visual artists, musicians and writers, ballets are quickly lost if not painstakingly videotaped and notated. The Antony Tudor Ballet Trust is doing an extraordinary job of preserving and sharing Tudor’s masterpieces under the energetic and visionary direction of Sally Brayley Bliss. This work is critical in large part because of Tudor’s masterly use of character. He is considered the Proust of ballet because of the strong development of narrative and character that identifies every masterpiece we know as “Tudor’s”.

By contrast, many classical ballets use the characters involved as a way to move the plot along; to serve as scaffolding for the choreography. They don’t really matter, they simply exist as tools, not as people.

On the other hand, Tudor has characters as real and tormented as any Lady Macbeth or Iago in almost every one of his dramatic ballets. Because of this ‘playwright-esque’ ability to create powerful characters within ballet choreography Tudor deserves to be studied in the same way as an art student studies (and copies) Rembrandt, or a music student Beethoven, or a theatre student, that’s right, Shakespeare. As it turns out, Mr. Tudor is the perfect choreographer for college and university dance programs because of his proclivity towards delving into deep, sociologically rich themes. For him it was not simply about technique or entertainment; it was about meaning. He meant for us to care about his narrative line, not simply follow it. It is the stuff of great literature, music and art — all of which he loved. It is still hard to define exactly where Tudor fits in today’s world of classical ballet, but he does clearly belong there; if nothing else, as an example of how it can be done . . . how it was done.

My personal experience with Mr. Tudor goes back to my childhood. My mother studied with him both at Jacob’s Pillow and at the Metropolitan in NYC. She had been a theatre major in college and came to ballet quite late for a dancer. For exactly these reasons, Mr. Tudor was the perfect teacher for her. I grew up hearing stories about how he would single her out during class and say, “Now everyone, watch Trude run, she actually looks like she’s going somewhere! That’s what I want.” That interest in honest movement (movement that had a motivation and a need) was quintessential Tudor.

Today’s dancers need that kind of attention to detail and motivation as much now as they did then. In our “continuous partial attention” 1 culture we can hardly wonder that our dancers seem lost when we ask them to fully engage in the moment . . . in one moment, not four scattered, disparate moments of multi-tasking-communication. The building blocks for powerfully projecting character on stage have not changed: To be fully in the moment; to be both kinesthetically and emotionally aware of your surroundings; to find honest gesture. These are skills I find are sorely lacking in most dancers these days. But they are skills, not gifts from above and, as such, I believe they can be learned.

The lack of artistry or the inability to embody a character as a dancer, are common complaints among many dance professionals. As a dance professor at Principia College (a small Midwestern, liberal arts college) I teach theatre movement, as well as dance, to both actors and dancers. I have observed this need for what I will call “artistry” first hand. I have also observed how it can be addressed, specifically for ballet dancers, but it can extend to all dancers. I believe that Antony Tudor’s oeuvre and legacy has much to teach us, and that exploring his work can bring illumination to the training of today’s dancers (and future choreographers); to make them artists, rather than simply athletes. I also believe, and have experienced this in my classes, that a combination of Laban Movement Analysis, Bartenieff Fundamentals, good old-fashioned Stanislavsky intention work and small doses of Alexander alignment can also work wonders.

For the last three summers I have had the privilege of guest teaching at L’Academie Americaine de Danse de Paris in the peaceful residential 16th arr. It has been a transformative experience as an artist/educator mainly because the Director, Brooke Desnoës, has allowed me autonomy in teaching the four week International Summer Intensive dancers in my “Acting for the Dancer” classes. Our philosophies for teaching dance are eerily similar. In her own words, “Respect, honesty and hard work are at the centre of everything we do. Classes are kept small and instructors get to know each student individually, in turn students are provided with encouragement and confidence to challenge themselves in new artistic ways.”

Part of my guest teaching while at AADP included a traditional ballet class; this has enabled me to experiment with how best to coordinate the two so that the students learn in a circular pattern. The last two summers I introduced Laban’s eight effort actions, some Bartenieff Fundamentals and a few Alexander exercises. We did some character work with the Laban effort actions (i.e. wring, press and float to name a few), as I do with my theatre movement students. I also had the dancers do some work outside the classroom — observing gesture and movement in strangers. This year, however, was the breakthrough.

Having worked all year with the Tudor Trust Committee on the innovative Antony Tudor Dance Studies Curriculum for Colleges and Universities headed up by Sally Bliss, I was more fully aware of some aspects of Tudor’s work that I had not fully appreciated before. For one thing; his fascination with dancers who could embody their role was a defining factor in his process. This took me back to Tudor’s roots: he trained as an actor before he ever trained as a ballet dancer, and he studied music from a very young age. Therefore, I gave my dance students a scenario in which to work; something all actors are well acquainted with. We were not working with actual Tudor choreography as I am not a Tudor repetiteur, and, anyway, I wanted them to find honest gesture on their own to begin with . . . to realize what that meant and how it felt; not an easy task for most ballet dancers. Based on the concept that their movements should have meaning, should express something about the character they had chosen for themselves, I asked them to come up with pedestrian movement that was real. They were given a beginning, middle and end point, and a partner, but that was all. This autonomy enabled them to have some ownership of the process, a key component in higher modes of learning. They also had to find a reason for their movement. I kept reminding them of the Tudor “mantra” which is to let the movement do the communicating and the facial expressions and other needed expression will follow. I had showed them excerpts from Jardin aux Lilas at the beginning of our time together and I kept referencing what they had seen, and playing bits of it again (specifically the opening scene) for clarification. They were not to recreate it, but to use it in their own work of creating honest gesture.

They quickly learned to open up, to become less concerned with “getting it right” and more concerned with just doing it wholeheartedly. I explained that that sort of approach inevitably leads to honesty, as it is inherently honest. As one student who had trouble finding expression in her dancing put it, “I learned that I must immerse my whole self and go past the point at which I feel “comfortable”.”2

The final two days of classes included a scenario which I choreographed for them. The scenario follows:

You are alone in a forest, sleeping; a noise wakes you; you get up and look for what it might have been. While searching you are startled by another noise; you slowly move away but are drawn back to see if you can discover what it was; you do, and flee in horror, exiting stage left.

I introduced this scenario in stages, giving some of the steps in technique class earlier on and then incorporating them into the final 72 count phrase. Repetition was critical as dancers are so accustomed to it, and especially need it when trying something new like this. Some of the comments from the group of older dancers with whom I worked the most are included below:

From a French student: “Il faut effectuer les gestes sur scene sans les anticiper” or “You must not anticipate your gestures on stage.” 3 This idea of not anticipating what you know is coming is critical for honest responses on stage (sur scene). It is also very difficult and requires the dancer to understand and be able to recreate, time and again, the ability to be “in the moment” — a concept that seems harder for dancers to grasp than it is for actors. Perhaps it’s because, as my mentor in theatre movement Margaret Eginton from Asolo Conservatory explains, “dancers speak with steps and so need more in the moment preparation of their instrument

Another important piece of this puzzle is how dancers approach the work itself. They are typically uncomfortable with “acting”. . . and rightly so. To be told to “Look happy now” or, “You need to look scared here” is very unnatural for dancers. They have been trained to do the steps well and to listen to the music, but mostly so that they will be on the beat with the others on stage; not as a catalyst for emotion. To graft onto a difficult combination of steps a feeling is hard for them and usually turns out badly; as I often say in class, “That was fake”. We worked a lot with this issue right from the start. One of my students from the intensive puts it far better than I could:

“I was never presented with the opportunity to be a character so fully that I truly felt I was that person. It is a completely different world. Your exercises present dancers with a difficult challenge that is as much about self exploration as it is about discovering different characters. …I tried to embody the music. We learned to constantly dance in the moment and to observe those around us in order to comprehend the meaning or emotion behind a certain gesture.” 4

As Desnoës puts it, “ “Incorporating “Acting for the Dancer” classes into the summer curriculum has helped the young dancers to get ever so close to that artistic freedom experienced when one “becomes” a character. It is delightful to watch their faces when they are able to feel that for the first time. I am certain that this connection between dance and feeling the character remains with them as they continue their dance studies and, more importantly, kindles the artistic process inside them.”

That “artistic process” is really what this work is all about. It has a lot to do with both discovering how to become a character and to embody the music, that elusive element that was also a key concept throughout their training. To really hear and feel the music, not just count it is something of an anomaly for many dancers today. Like the character work, however, it can be learned. Many times I have found that all a dancer needs is explicit permission to “let the music move you” from the choreographer or teacher and they are eager to do so. All of the dancers found a road they could travel to find expressive gesture and honest movement . . . my basic goals for the class.

Antony Tudor is not the only ballet choreographer who has ever worked to find honesty in movement; but using Mr. Tudor’s works as an example of where this can be found in classical ballet has been most helpful. For today’s college dancer the use of various techniques to achieve this end seems both logical and in tune with the ideals of a liberal arts education. In exploring these paths some of them came from reading or hearing about exercises Mr. Tudor had used in his technique classes; some I observed while Tudor repetiteurs Amanda McKerrow and John Gardner worked with my dancers at Principia College. Other ideas came from Margaret Eginton’s coaching and observing her classes and my graduate work on my MFA where my thesis was on how to incorporate Laban Movement Analysis in my work with actors and dancers. Years of teaching theatre movement, choreographing and teaching ballet have also informed this practice and lead me in new and different ways.

The overarching goal of training more artistic dancers through giving them a way to find expressive gesture is ongoing. In this age, dancers in university programs need to have both a goal and a map: the goal is to be able to fully express any character they may be asked to embody through their movement. The map is a clearly articulated yet flexible set of exercises and approaches that enable the dancer to arrive at honest gesture and let go of self-imposed limitations and fears. I don’t know if Mr. Tudor would be pleased if we reached this goal, but I know I would.

“Does America Have ADD?,” U.S. News and World Report, March 26,2001, 24.

I knew two Mr. Tudors. The first one was the one who chose me to work with Ethan Brown to dance the last pas de deux in Leaves are Fading and to dance the 4th song in Dark Elegies. This man of elegant bearing had eyes that sparkled with wit and mischievousness. Though there was always serious work happening in the studio as he tried to get us to simplify our movement, to dance the steps just as they were, adding nothing, he would tease and joke too. For example, early on in rehearsing Leaves he said to Ethan, “I bet she’s a screamer.” Though my face turned as scarlet as my hair, I replied, “Ethan wouldn’t know.” and Ethan said something to the effect of, “I’d like to find out!” and we all had a laugh. Then we got back to working on making the last embrace in the duet have more of a passionate gasp.

In Dark Elegies, there wasn’t the lightness of mood in the room as during Leaves rehearsals, the dance has too strong a subject, but there was still the constant work on lack of ornament in the body, and always, always, the focus on the music. Another aspect of working with Mr. Tudor was apparent during Elegies, the way he directed us as we toiled on the piece, created in the cast a great sense of community that allowed the work to be the powerful statement that he intended. I am sure his process was intentional; a method used to create individuals deeply invested in the dance and each other so as to better attain the intent of his vision. This ballet remains my favorite work of his that I have danced.

The second Mr. Tudor was the man who picked me out of the corps de ballet to revive the role of Hagar in his masterpiece Pillar of Fire. Almost from the first day this was a torturous period in my career. He sat ram-rod straight at the front of the room, severe and never satisfied. He spoke little, having Sallie Wilson and Hugh Laing do much of the work, which created even more distance from him. He questioned me and never was my answer correct. He would have me spend almost an hour on one step, where again I would fail. I was often reduced to tears that I tried to shed only on my five minute break in a hall closet, refusing to give him the “pleasure” of seeing me cry. Throughout, Michael Owen was my support as well as my character’s support. Again I believe the whole process was intentional; Mr. Tudor tried to make me feel Hagar, find the truth of her with every fiber in my being. To this day, when I hear the Schoenberg music, my stomach tightens in response and I feel insecure and without options (despite the redemptive ending!). Since he died shortly before our premiere, I still wonder if he would have been satisfied with our performances, though I did have the honor of having Oliver Smith come backstage and tell me I had done well… so maybe?

Without a doubt Mr. Tudor positively influenced my approach to all future work I had at ABT and with The White Oak Dance Project. Though times with him were mostly difficult, whether physically or emotionally, I am thankful that I was given the opportunity to work with him relatively early in my career. Since he died when I was only 24 years old, I have fewer memories to remember him by than many others, but two I treasure are these: The first is merely a snapshot, perhaps the first time I saw him up close…he was sitting on one of the simple wooden benches that line the halls on the 2nd floor at ABT’s 890 studios. His hands were loosely clasped in his lap, his spine was erect but not stiff, his chiseled looking bald head was tilted in thought. He radiated the stature, grace and easy command of a high priest. There was power there. My second memory comes from that magical yet nervous time in the theatre…I was on the stage at the Metropolitan Opera House around 6:15 pm, with the big, golden, silk curtain open and house lights illuminating the red velvet chairs so soon to be full of a discriminating audience. With my hair slicked back into a sleek low bun for my upcoming premiere of Leaves but with no stage makeup on yet, I was going through every moment of the piece, my blood full of butterflies. Mr. Tudor quietly crossed from downstage left to right, looking straight ahead. At quarter, before his exit, he turned slightly towards me, ran his hand across his head as if running it through his hair, and with a slight smile he said, “Looking like me tonight?” and then he continued on.

I got an exciting phone call from Norton Owen, Director of Preservation at Jacob’s Pillow, about a year and half ago. He found an old, very fuzzy, silent 16-millimeter film of Antony Tudor’s Trio Con Brio. Tudor choreographed the pas de trios at Jacob’s Pillow and the first performance was on June 27, 1952 to Russlan and Ludmilla by Mikhail Glinka. The name of the choreographer, Vispitin, was Tudor’s invention; he felt that the work was not in the Tudor style and should not bear his name. The ballet was thought to be long lost.

Norton thought New York Theatre Ballet might be interested in trying to mount the work. I was honored, and absolutely delighted that Norton thought of NYTB. I thought the pas de trios were beautiful, and after discussing the project and its problems with our then music director, Ferdy Tumakaka, I decided to give it a try. Ferdy did the music research and found the score. We went into the studio with three dancers and the “nightmare” began.

Sallie Wilson had done a similar restaging about 6 years before. The ballet was Les Mains Gauches choreographed to music by Jacques Ibert. So, because I was part of that exercise, I thought this wouldn’t be so hard.

Mains Gauches, a ballet Tudor also did at Jacob’s Pillow, premiered on July 20, 1951. Sallie was in the original cast, had a blurry, silent film, and a fabulous memory. I was stunned as I watched her recall not only the choreography but also how it fit with the extremely difficult music. She remembered not just her part but the other dancers’ as well. A miracle to behold. It was difficult to see the costumes because the film was so unclear, but Sallie was able to do costume sketches for our costume designer, Sylvia Nolan. NYTB mounted Les Mains Gauches in 2003 at Florence Gould Hall, NYC. Like many of Tudor’s works, it’s a difficult ballet and takes repeated viewing to truly understand its full meaning and to discover the wonderful detail in each gesture. But even knowing all of this, I thought that mounting Trio Con Brio might not be too difficult. How wrong I was.

Trio Con Brio was a different exercise right from the start. I had never seen the ballet and only learned of it from mention in a 1963 Dance Perspectives Magazine edited by A.J. Pischl and Selma Jean Cohen. So how were we going to put it together from this jumpy, unclear film, that had a burn in it with a full half minute missing from one of the men’s variations? We started, painstakingly, learning the steps, one phrase at a time, then trying to make it fit the music. Ferdy, happily, has a great understanding of dance and had worked with Sallie for several years while she staged Judgment of Paris, Jardin aux Lilas, and Little Improvisations, and while she coached Fandango. The dancers had worked with Sallie for several years on all of these ballets and with her coaching they understood how to approach the choreography and the style.

We worked and worked, hours every day for several months. We argued constantly, and tempers flared. But each time we figured out a phrase, the next phrase became easier. We only had to learn to trust Tudor’s musicality, his honesty in style, and we had to avoid adding theatricality to the movement or how it fit musically. We finally finished everything except the variation that has the 30 seconds missing. I decided to speak about it with Lance Westergard, our new ballet master. He has the understanding of Tudor’s work to make a good decision about how to solve the problem.

In the meantime, we presented the unfinished work several times in our Dance On Shoestring program. It’s a wonderful ballet. It may not rank with Tudor’s very best, but it’s an important part of his choreographic history. Elizabeth Sawyer and Hugh Laing made wonderful comments about Tudor’s use of music in the 1963 issue of Dance Perspectives. Elizabeth was his accompanist. She said “Tudor doesn’t count for his dancers because he wants them to feel the music. It’s not the specific notes that matter. It’s his intuitive awareness, his grasp of inner structure, and his insight into the essence of the music that he communicates.”

Not just the notes. Hugh Laing put it this way: “We danced between the notes. This sometimes bothered conductors, who waited for the dancers to step on the beat and had to be told to just go ahead and play; they would all come out even in the end.” These statements so clearly apply to the musicality of Trio Con Brio.

There is always debate on whether it’s appropriate to mount a work from film without the original cast present. But with NYTB’s vast Tudor repertory, the dancers who worked closely with Sallie Wilson, and now with Lance Westergard and our legacy of the training syllabus of Enrico Cecchetti through the teaching of Margaret Craske I think we can give Trio Con Brio the respect it deserves.